The film opens with a dreary series of fake-outs and fantasies, culminating in a gunfight and car chase that suggest Broken Lizard would rather be making a different kind of movie

Brad Anderson’s talky-smartish thriller Beirut, like the first half of Million Dollar Arm, sets Hamm’s sharpie loose in a country — in this case a fractious Lebanon — where the rules aren’t his

The film — which is nowhere near as interesting as LaBeouf’s performance — is hopelessly reductive about its subjects’ psychology even as it mocks the press of 1980 for being reductive about its subjects’ psychology

Working from a novel by Willy Vlautin, Haigh has committed himself to making a boy-and-his-horse movie that’s scraped free of everything false or sentimental about the genre

The mode is comic frustration, the story centered on a reasonable man (played by Armie Hammer) frustrated at the eccentricities of a wild-haired genius (Geoffrey Rush, as the painter Alberto Giacometti)

Curran’s film, often enthralling and upsetting, represents a welcome break in the hagiographic treatment the longtime Lion of the Senate enjoyed in the years leading up to his 2009 death

… This first English-language feature from Italian director Paolo Virzi (Human Capital, Like Crazy) is at times moving in its sincerity, thanks to stellar casting and the director’s clear-eyed perspective on aging and dementia …

Fortunately, Rothstein’s film, for the most part, is more well-reported expose than it is cliche-driven agitprop, a film that blows the whistle on ongoing financial crimes

This Terror, developed by David Kajganich and certainly the best of AMC’s prestige-TV horror series, is always suspenseful, superbly acted, shrewdly paced and committed to the summoning up what the experience of Arctic isolation might actually have been like

Even as Maoz seems to be addressing his themes head on, he’s cleverly setting up the conditions for tragedy, and when it hits, it’s somehow both shocking and inevitable

Here is a movie made for and about the people who believe they are the essence of American normalcy, a movie that dutifully flatters and celebrates them even as it works to expand who that normalcy actually includes

Uthaug’s film, like the recent reboot of the video-game series, gives us a grittier Lara Croft, one stripped of the advantages of her wealth and all bruised up from the rigors of her adventure

Thoroughbreds’ best trick is to convince us, through the aching stillness of its stars’ eyes, that it might not actually be a twisty, twisted thriller inspired by the likes of Strangers on a Train

It’s often inspired in its cutting and composition, and Garland (Ex Machina) has crafted sequences of strange splendor, including a too-short cosmic light show

An episodic ensemble drama organized around the logic of theme rather than of traditional narrative, the film concerns above all else accumulation and dispersal, in the American vein

The Ritual finds a quartet of British lads/drips hiking through the deserted woods of northern Sweden, a labyrinth of ancient trees with trunks that stretch up forever

There’s time to wonder, as Momoa huffs across the peaks of Newfoundland, what it says about us as a species that so many of us relish the dramatization of acts of terrible cruelty but first demand narrative justification

Something of a prank, a farewell, an art project, a buddy comedy, a vox populi tour of the French countryside, and an inquiry into memory and images and what it means to reveal our eyes to the world, Faces Places is a joyous lulu. It finds the great documentarian and…

When these performers get the chance to exchange dialogue, to react to each other rather than declaim the movie’s themes, Film Stars Don’t Die in Liverpool rouses to life

It’s a somewhat boisterous adventure, a war movie where you cheer not just for the boys to make it home but for them to complete the mission

The first two episodes each build to a set piece in the city’s bowels, one in a factory’s attic and the other in a brothel catering to men who prefer boys dressed as women

For much of The Final Year, convinced of Hillary Clinton’s victory, the members of Obama’s crew insist that their successes and failures are part of a continuity – that their work will inform the work of the next administration